454 results for "cubism"

Roundism – 17-04-18 In this drawing I tried to combine the edgy triangular bodyscapes with a circular movement of the model. Although the reference picture did not sbow much con...

Roundism – 23-11-20 Diagonals, Horizontals and Verticals A new roundism variation in diagonals, horizontals and verticals. Sometimes you come across a great motif that stimulat...

French artist Georges Lucien Guyot (1885 - 1972) signed this charming woman nude study. This painting features a lovely design of a woman getting out of the bath and wiping with a towel. Only a few lines in charcoal and red chalk or sanguine mark the silhouette and posture and capture the model's expression. The red color emphasizes the color of the skin and imbues the lascivious movement. The sketches of the bath towel are only suggested, but they give the whole thing a lot of softness and an incredible illusion of movement. Signed on the bottom left corner: Georges Lucien Guyot. The artist employed a method known as "sanguine" (red chalk paint) which is red crayon or chalk. The drawing has a blood-red, reddish, or flesh coloration. For centuries, painters from the 15th and 16th centuries, including famous masters like Michelangelo, Raphael, and Leonardo da Vinci, have used it for drawing. The drawing has an elaborate off-white matte with acrylic glass protection and a modern wood frame with a deep-textured pattern in red and yellow. Measurements: With Frame: 20.87 in wide (53 cm) x 28.35 in high (72 cm) x 1 in deep (2.5 cm). View alone: 11.44 in wide (29 cm) x 18.94 in high (48 cm). Biography: Georges Lucien Guyot (born December 10, 1885, in Paris, where he died December 31, 1972) is a French artist, sculptor, and painter. From an early age, Georges Guyot showed artistic abilities, but the modest conditions of his parents did not allow him to study art. So he did his apprenticeship with a wood sculptor. Guyot excelled in copying works from the 15th, 16th, and 17th Centuries but rapidly showed an attraction for nature. This attraction led him to the Jardin des Plantes in Paris, where he could study wild animals and translate his observations into sculptures and paintings. A familiar figure of Montmartre, Georges Guyot was the guest of the Bateau-Lavoir from the time of Cubism. In 1931, he joined the group of Twelve, created by François Pompon and Jane Poupelet...

Hopeless is a Colored lithograph realized on japan paper by Jean Cocteau (1889 -1963) in 1930 ca. French draftsman, poet, essayist, playwright, librettist, ...

All the Right Angles This graphite pencil drawing ‘Risque – 11-01-22 is the third one of Julia Filament after the session of last 30th December. As previou...

Provencal Landscape by Louis Bellon (French 1908-1998) Signed and dated 46' From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed meas...

Roundism - 15-11-20 More Complex The previous drawing Roundism - 06-11-20 was set up rather elementary, contary to this one. As you may know by now I like to vary and decided to ...

Title: Cubist French Abstract Composition With Geometric Shapes Circles And Colour Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 26.25 x 19.25 inches (heigh...

Title: Countryside Village with Church Steeple French Modern Landscape Painting Guy Nicod (French 1923 - 2021) Signed bottom right Gouache on artist paper, unframed Size: 17.5 x 24....

A vibrant 1950s Modern watercolor of a standing male bather in red orange tones by notable French artist Andre Delfau. Painted in the south of France along the Cote d' azure (...

Signed, dated and numbered “Picasso / 3.2.67 / II” (upper right) Crayon on paper Hailed among the fathers of modern art, Pablo Picasso possessed a seemingly e...

Hans Hofmann Untitled, circa 1943 Signed lower right Oil and watercolor on paper 22 1/4 x 30 3/4 inches The only artist of the New York school to participate directly in European m...

Roundism – 27-10-20 Just Abstract Last model session resulted in a nice pose through which I was inspired to continue my roundism series. The general idea was to build up the p...

A diminutive and charming still life painting of an antique French porcelain pitcher by notable artist Andre Delfau. Artwork size: 9 1/2 x 6 1/4 inches. Beautifully framed in pe...

Title: Abstract Seated Nude with Red Background French Modern Figurative Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 20.25 x 15.75 inches (height ...

Joanne Freeman Squares and Strokes (Viridian_22a), 2025 gouache on handmade paper 28 x 20 in. Image: 22 x 14 in. (freem244) My paintings and drawings incorporate elements found in a...

Pointillist Abstract Design by Louis Bellon (French 1908-1998) initialled lower right in the image and again in the margin gouache painting on paper, unframed unfinished sketch on th...

Title: Cubist Gouache French Village Landscape With Deer Church Trees And Hills Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 25.25 inches (height x...

Different Styles Another variation in the Risque Series. After my last graphite pencil drawing ‘Risque – 22-01-22’ I was searching for something new. I just don’t like to ...

Provencal Landscape by Louis Bellon (French 1908-1998) signed and dated 47 From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed measu...

Title: Cubist French Surreal Abstract Composition With Eyes Figures And Geometric Forms Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.25 x 22.75 inches (...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Title: Cubist Gouache French Village Landscape With Trees Houses And Church Tower Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.5 x 25.5 inches (height x...

A Striking, Colorful 1930s Modern Surrealist Abstraction by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). Titled "Signal Set Up", the artwork is colored pencil...

Cowboys Horses Cattle WPA American Scene Social Realism Mid 20th Century Modern Jo Cain (1904 – 2003) Cowboy 33 3/4 x 36 inches Oil on paper, c. 1930s Signed...

Roundism - 16-01-19 Last August international dancer and model Julia Gómez Avilés came over to my studio where we, together with fellow artist Julia Filement, had a wonderful li...

A Fine, Early 1940s Modern Surrealist Abstract Drawing, "Airship and Boat Forms", by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). Graphite on gray toned pape...

A Striking, Colorful 1940s Mid-Century Modern Surrealist Abstract Watercolor by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). The artwork is watercolor, pastel...

Title: SStill Life with Calla Lilies and Ceramic Vase French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 10.75 x 14.5 inches (height x w...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...

A New Model This graphite pencil drawing ‘Neo Deco – 01-06-23’ serves as a caesura after my long series of landscapes and cityscapes. The last one depicting the Nieuwe Kerk ...

A rare sketch by world-renowned Giancarlo Impiglia, who never ceases to study. Born in Rome, Impiglia moved to New York in the 70s, where he established a signature style on the sh...

Provence Landscape, Panoramic View of a Riverside Village by Louis Bellon (French 1908-1998) Signed lower right, dated 62 (1962) watercolour painting on paper, unframed measurements:...

A colorful textile design in orange, blue, red and yellow tones depicting an abstract polychrome Wedge Star pattern by set and costume designer Andre ...

A Striking, 1940s Modern Surrealist Abstract Drawing, "Overseas" by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). Graphite on yellow toned paper, dating from 1...

A colorful 1950s textile design (Black, yellow, blue, pink, red tones) by noted set and costume designer Andre Delfau. Born in Paris, France in 1914, Andre Delfau became an internationally acclaimed stage, set and costume designer who worked world-wide from the 1930s to the 1980s. Delfau was a life long artist and painted independently of his noted design career. His artwork is recognized for it’s vibrant color and form, and a particularly keen use of line. He was highly influenced by the French Modern trends of Cubism and Surrealism, and his artwork is often infused with a dramatic sense of architecture and perspective. Delfau created fashion designs for such major Paris couture houses as Balmain, Jean Patou and Balenciaga. He completed noteworthy set designs and costumes for numerous international operatic and ballet productions, including those at the Royal Danish Ballet, the Royal Ballet of Great Britain, the Paris Opera, the Dance Theater of Harlem, the Ruth Page International Ballet, the Civic Ballet of Chicago, the Chicago Opera Ballet and the Lyric Opera of Chicago, among others. Most notably, Delfau designed the elaborate stage sets and costumes for the 1986 PBS television production of the Viennese operetta, "Die Fledermaus...

Joanne Freeman Squares and Strokes (Ultra_16), 2025 gouache on handmade paper 28 x 20 in. image: 16 x 16 in. (freem241) My paintings and drawings incorporate elements found in archi...

Working Man WPA Social Realism Industrial Modernism 20th Century American Scene Jo Cain (1904 - 2003) Printing Press 40 ½ x 26 inches (sight) Oil o...

Golden brown – 24-08-20 New paper experiment The other day I bought new paper by Talens (Toned Colour Mix): a sturdy dark blue sheet perfect for colored pencil and pastel stick...

Solarized Geometry - 10-09-20 Solarized Geometry After my drawing Roundism - 29-08-20 it was time to delve into this type of solarized geometry. The latter is about properties of...

Untitled Fabric Design Gouache on paper, 1920-1930 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) Condition: E...

Figure of Man is a Colored lithograph realized by Jean Cocteau (1889 -1963) in 1930 ca.  French draftsman, poet, essayist, playwright, librettist, film director. Good conditions. ...

Portrait of a Woman is an original pencil drawing realized by Serge Fontinsky (1887-1971) in the half of the 20th Century. Good conditions, minor cosmetic wear. Hand-signed on the...

WOODED LANDSCAPE WITH HOUSES Signed original brush and ink on wove paper, circa 1950. WOODED LANDSCAPE WITH HOUSES is an original watercolor brush and ink on paper, hand signed in ink pen by African-American artist, teacher, and printmaker Ronald Joseph (1910--1992) Artwork depicts an abstract landscape, is in good condition, paper tape remaining on reverse side edges, mounted in an archival acid-free mat, unframed. Artwork paper size - 18 x 21.5 in. Year created - c. 1950 About the artist - Ronald Joseph (1910 -1992) was born on the island of St. Kitts, West Indies In 1910. When he was very young, his mother decided to move to the United States but she could not afford to take him with her. Mr. and Mrs. Theophilus Joseph, a childless couple who were friends of Joseph’s mother, adopted him. Afterwards, the Joseph family moved to the Island of Dominica, where they stayed for ten years. In 1921, his foster parents also decided to come to the United States. In New York, Joseph met his mother but remained living with his foster parents. In 1926 Ronald Joseph received a scholarship for the Ethical Culture School, were he spent two and half years of his high school period. At this time he obtained an art scholarship through Dr. Henry Fritz, with whom he became acquainted through his art teacher in public school. Joseph was taken into the Saturday art class, where he was the only black participant. An artistic prodigy, Ronald Joseph had his student works shown at the Metropolitan Museum of Art. Ronald Joseph graduated from Ethical Culture Fieldston School in 1929. He was honored as “the most promising” young artist in New York City’s schools. He began his study at Pratt Institute in 1931 and graduated in 1934. During the 1930s and 1940s, Joseph participated in many exhibitions of African-American art, the Works Progress Administration mural project, and the Harlem Artists Guild. Ronald Joseph enlisted in the U.S. Army Air Corps at the declaration of World War II and was posted as a member of the ground crew in Tuskegee, Alabama, and in Michigan. At the end of the war in 1945, he received his G. I. Bill of Rights scholarship. In 1948, he was presented with the Rosenwald Fellowship. The funds allowed him to live and work abroad – first in Peru for two years, then in Paris. Joseph used the G.I. bill to study in Paris at the Grande Chaumière. He described this period of his life as being “independent of economy”. His work from these travels is largely undocumented; according to Rosenwald scholar, Daniel Schulman, many pieces of art are undated or simply dated “1948-1952”. After this period he came back to New York without money and work and indicated this as period of hardship. Ronald Joseph left the U.S. in 1956, disappointed in the unreceptiveness of the art world to his work with mixed feelings about this. On the one hand, he felt guilty for having left the U.S. during a period when blacks were struggling for their civil rights; on the other, he felt “lucky” to have been able to live and work in place where he did not feel discrimination as intensely. He emigrated to Belgium and later settled permanently in Brussels. Ronald Joseph was married to Claire Joseph and they had a son, Robin Joseph. In 1989 Joseph returned to the United States after an absence of thirty-three years to attend the Lehman College exhibition and symposium and to renew his old friendships. Afterward, he returned to Brussels where he continued to work as a painter, living there for the remainder of his life. Ronald Joseph started his artistic career in Harlem, New York City at the Harlem Community Arts Center, where he was one of the youngest pupils. Joseph studied lithography and other printmaking techniques with Riva Helfond, who taught him many aspects of the process based on simple techniques, including how to operate the press, and how to prepare the stones. Helfond played a significant role as a teacher of lithography at the Harlem Art Center. Joseph produced his first lithographs under her supervision, and this was at a time when she was just beginning to learn the medium herself. At the Harlem Community Arts Center Joseph met Robert Blackburn, who was his classmate. In 1937 Ronald Joseph depicted Blackburn, in one of his most famous works, that is now located at The Metropolitan Museum collection. Experimenting with lithography and etching, as well as woodblock and silkscreen printing, Joseph explored the techniques of printmaking alongside his friend Robert Blackburn. Joseph described the Harlem Art Center as a “healthy and lively” place, where he had made wonderful friends. In the late thirties, he also served as a teacher at the Harlem Community Arts Center. There Joseph met younger artist Jacob Lawrence and Gwendolyn Knight. They formed a friendship, where they enjoyed conversations and visiting museums together. Both Joseph and Knight would hire Lawrence to pose for them. Jacob Lawrence considered Ronald Joseph to be a very intellectual artist. In the 1930s, Joseph became chairman of the Harlem Artists Guild and represented it in Washington with Stuart Davis and Hugo Gellert. Ronald Joseph was also a participant in the mural section of WPA and a representative of the Harlem Artists’ Guild to the New York World’s Fair (1939-1940). Joseph’s early oil paintings were influenced by Picasso, Braque and other European artists while most of his contemporaries focused on social realism. By 1943, he was hailed by art historian James Porter as New York’s “foremost Negro abstractionist painter”. His pastels and gouaches from the late forties and early fifties showed a highly structured abstraction combined with a studied spontaneity. Ronald Joseph’s finely tuned abstractions often incorporated representational elements along with apparently “purer” forms. He described this aspect of his work in these terms: “It’s not abstract and abstract at the same time. It’s pure creation.” His works from the 1950s employed both still life and landscape as pretexts for masterly exercises in nearly abstract pictorial construction related to cubism and fauvism. During World War II, Joseph was drafted. After the war he formed “a kind of a group” with Robert Blackburn, Charles White, Larry Potter, and Reginald Gammon...

To The Bathroom is a Colored lithograph realized on japan paper by Jean Cocteau (1889 -1963) in 1930 ca. French draftsman, poet, essayist, playwright, librettist, film director. ...

Roundism - 14-08-20 In this one I started hatching up the paper with diagonal strokes like always when the motif is very dark. I did not wanted to rub them out like I am use to bu...

More than Cubism and Roundism This graphite pencil drawing ‘Cleopatra – 23-02-24’ refers to a work under the same name I made back in 2018. That year I started my ‘Out of...

The airport is an artwork realized by Suzanne Tourte, in 1940s. Pen on paper. Handisgned in the lower margin and artist's stamp on the right side. ...

Best known as an impassioned supporter and avid collector of modern art, Earl Horter was also an artist himself. Largely self-taught, Horter was a highly skilled draftsman and engrav...

Solarize It Again This graphite pencil drawing ‘Solarized Roundism – 02-03-23’ follows directly after one with the same name. You see, I quite got the hang of it. I’m tota...

Jim’s of Lambertville is proud to offer this artwork by: Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Dill...

A pencil sketch by famed American Modernist Joseph Stella, who burst on to the American scene at the epochal Armory Show of 1913 and whose work is today in the collections of every m...

Golden brown - 24-08-20 New paper experiment The other day I bought new paper by Talens (Toned Colour Mix): a sturdy dark blue sheet perfect for colored pencil and pastel sticks....

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) Condition: E...

Title: Cubist French Abstract Figure With Geometric Shapes Red And Blue Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 26.25 x 19.25 inches (height x width) ...

Women of the Eastern Village. Andrée Karpelès (Paris, 1885 - Grasse, 1956). A charcoal drawing on paper, from the beginning of the 20th century, representing 3 peasant women dresse...

Returning to Cubist Styling This graphite pencil drawing ‘Berg en Dal – 02-05-23’ is a welcome change from 9 consecutive impressionist landscapes I made. Somehow I felt attr...

This graphite pencil drawing ‘Woman in a Red Kimono – 03-11-22’ counterparts the one I made last year cubistically. After ‘Roundism – 28-10-22’ I was out of motifs inspir...

Angular Times The next one in the Risque series. After my previous colored pencil drawing ‘Risque – 18-01-22 I wanted to experiment with angular structures again. The reason is that I already did one in my roundism style (Risque – 11-01-22). One could say I was looking for yet another challenge. In the description to aforementioned drawing I wrote about cross-overs between abstraction and realism. This time it was time to set loose this ambition of mine on straight-edges plains. See if I can get away with a realistic impression wrapped in abstraction than it lets on at first glance. Flash Lightning The reference picture is taken during the session of December 30th 2021. That was a great one and I directly fell in love with her chair and rugged blanket. Notwithstanding her roundness by definition Julia happened to took this position with her arms spread. Her left leg was placed in a spectacular angled position. The result was a flash lightning, running from her toes up her leg and spine, branching towards her arms. The tonal rhythym of light and dark plains did the rest. I could not think of a better model and a better position. The Cat Executing the drawing and almost finished I felt something was missing though. It seemed the left corner did look a bit empty. It needed an introductory detail. There simply was only one thing that came to mind, almost automatically: her cat. She happens to have a Scottish Fold...

Golden - 01-02-21 One Color is No Color This pastel is in line with my previous pastel drawing 'Golden - 28-01-21' but that one looks rather monochrome. Time it was to add some m...